Marjorie Baumgarten

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For 1,482 reviews, this critic has graded:
  • 35% higher than the average critic
  • 2% same as the average critic
  • 63% lower than the average critic
On average, this critic grades 3 points lower than other critics. (0-100 point scale)

Marjorie Baumgarten's Scores

  • Movies
  • TV
Average review score: 57
Highest review score: 100 Boyhood
Lowest review score: 0 Hoodwinked Too! Hood VS. Evil
Score distribution:
1,482 movie reviews
    • 58 Metascore
    • 50 Marjorie Baumgarten
    Lawless never fully comes together as a whole but it is quite intriguing in spots.
    • 45 Metascore
    • 50 Marjorie Baumgarten
    With a foretold ending and long stretches of pure driving, The Last Ride squanders its potential, much like its tragic subject.
    • 58 Metascore
    • 50 Marjorie Baumgarten
    Adams is absolutely winning in this role, which requires her to be a tough-as-nails attorney, grownup tomboy, and psychologically scarred adult. And she makes a good foil for Eastwood, though it's often uncomfortable to see the actor going through melodramatic paces.
    • 40 Metascore
    • 50 Marjorie Baumgarten
    Garner hasn't come across as amusing as she is here in quite some time. Despite many funny bits, Butter also, at times, seems to excoriate the blinkered Midwesterners in the flyover states.
    • 53 Metascore
    • 50 Marjorie Baumgarten
    The film's sound design is also expertly wrought with a blend of nearly subliminal noises, bumps in the night, and other frights.
    • 45 Metascore
    • 50 Marjorie Baumgarten
    Most of the performances are good in a flailing sort of way, and McConaughey, especially, is a standout in this year of his reinvention. Despite all its garish accoutrements and salacious underpinnings, The Paperboy can be a hoot to watch.
    • 71 Metascore
    • 50 Marjorie Baumgarten
    Smashed may be better at preaching to the choir and is likely to find its largest audience among struggling 12-steppers.
    • 67 Metascore
    • 50 Marjorie Baumgarten
    A Late Quartet overplays its bass line and loses sight of the melody, making for a movie that is heavy-handed and sluggish. It remains earthbound when it should soar.
    • 64 Metascore
    • 50 Marjorie Baumgarten
    As with his previous film "The Assassination of Jesse James by the Coward Robert Ford," Dominik's ideas get the better of his creative handiwork as he throws off his pacing to follow points he has already made.
    • 55 Metascore
    • 50 Marjorie Baumgarten
    This film is more a love story about the marriage between Hitchcock (Anthony Hopkins) and his wife, Alma Reville (Helen Mirren), rather than a historically accurate backstage look at the making of this important movie in the Hitchcock filmography and the American psyche.
    • 58 Metascore
    • 50 Marjorie Baumgarten
    To sum it up, there is little that is unexpected in The Hobbit: An Unexpected Journey. Rather than an epic continuation of Jackson's Middle-earth obsession, the film seems more like the work of a man driving around a multilevel parking garage without being able to find the exit.
    • 42 Metascore
    • 50 Marjorie Baumgarten
    More honest than you might expect a promotional piece such as this to be, but less self-investigative than you might like, you come away thinking there are much greater depths for Snoop Lion to plumb.
    • 48 Metascore
    • 50 Marjorie Baumgarten
    Never finding its right tone, Admission uncomfortably founders between the story’s comic and dramatic aspects and leaves behind a lumpy residue that tars its likable leads.
    • tbd Metascore
    • 50 Marjorie Baumgarten
    The film’s historical pageantry is fascinating to observe, even though the story is mostly conjecture. Competently directed, the real pleasure in this high-grossing South Korean film lies in its performances, which lighten the regal solemnity with comic warmth.
    • 54 Metascore
    • 50 Marjorie Baumgarten
    In The Girl, writer/director David Riker returns to many of the same themes he pursued in his award-winning 1998 film "La Ciudad," which told the stories of four Hispanic immigrants living in New York City. Immigration is still very much on Riker’s mind, although he approaches it from a very different perspective this time.
    • 58 Metascore
    • 50 Marjorie Baumgarten
    Although To the Wonder never transported me, personally, to the ecstatic heights the title promises, there is still much here worth one’s engagement.
    • 64 Metascore
    • 50 Marjorie Baumgarten
    Renoir is great at capturing some of the details of daily life within this unique household and conveying an Impressionist atmosphere on film, but as far as telling us a story, the film is a washout.
    • 88 Metascore
    • 50 Marjorie Baumgarten
    Life Is Sweet observes this constellation of people without ever really commenting on their lots. Very little occurs and thus, if you don't find yourself drawn to these characters, you will find yourself wondering when it will all be over.
    • 57 Metascore
    • 50 Marjorie Baumgarten
    Although the movie contains occasional moments of glimpsed accomplishment, Kansas City is for the most part a lame duck.
    • 41 Metascore
    • 50 Marjorie Baumgarten
    After establishing this interesting premise, writer/director James DeMonaco only scratches the surface of its implications before devolving into a creepy roundelay of murders and deaths averted.
    • 68 Metascore
    • 50 Marjorie Baumgarten
    The film looks good (nod to cinematographer Roman Vasyanov). The images are sharp even when the film’s ideas are not.
    • 74 Metascore
    • 50 Marjorie Baumgarten
    At its best when making the political personal, the film’s exposure of a husband’s enduring mystery about his wife’s motivations has a universal appeal.
    • 49 Metascore
    • 50 Marjorie Baumgarten
    Amounts to little more than a big, wet kiss to the group’s worldwide legions of young, female fans.
    • 49 Metascore
    • 50 Marjorie Baumgarten
    Afternoon Delight has many small pleasures but falls far short of reaching the G spot.
    • 66 Metascore
    • 50 Marjorie Baumgarten
    Although the film’s character portraits are vividly drawn, they remain largely one-dimensional.
    • 54 Metascore
    • 50 Marjorie Baumgarten
    An almost sweet sensibility emerges by the end of Bad Grandpa. Young Jackson Nicholl is a real find: The kid can really hold his own against Knoxville’s master pranker.
    • 67 Metascore
    • 50 Marjorie Baumgarten
    Having unfettered access to Armstrong during the 2009 Tour and a face-to-face sit-down with him in Austin hours after his national confession to Oprah, The Armstrong Lie comes across more a good save than a muckraking piece of journalism.
    • 60 Metascore
    • 50 Marjorie Baumgarten
    It’s too bad, then, that Justin Chadwick’s film does not offer a more substantial portrait of the man, whose passing is a fresh wound to mourners and curious onlookers worldwide.
    • 78 Metascore
    • 50 Marjorie Baumgarten
    This biography, to our surprise, is extremely respectful and earnest and lacking Morris' usual transformational touch.
    • 51 Metascore
    • 50 Marjorie Baumgarten
    Cesar Chavez, though respectful and illuminating, never rises to the inspirational level of its titular subject.

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